For this discussion, we have decided to separate our thoughts into three sections: Calkins' description of K-2 writers, her recommendations and scaffolds for K-2 writers, and her discussion of the transition to 2-3 writers.
Descriptions:
Students at this age tend to have an interest for writing and an enthusiasm for the world around them. They cheerfully fill up the spaces with which they are provided at the same time that they take careful note of the details of the world around them.
What they lack is a structure on which to hang their writing, the mechanics with which to write fluently, and the insight that their experience with the world is material for writing. Teachers should prompt students to develop these structures and to internalize these ideas.
Scaffolds:
At the earliest stages, students are more prone to draw than they are to write. Indeed, drawings often form an integral part of their narrative, without which their written words make no sense! Calkins argues that this is a helpful way for students to develop their ideas and understand the way writing functions initially. Over time, however, teachers should encourage students to leave drawing behind--at least as far as writing is concerned. Drawing takes up too much cognitive load and causes students to lose track of their writing. They have to learn the import of words.
At this stage, Calkins cites a new scaffold that can move in to replace drawing: vocal rehearsal. Students "talk themselves" through their writing. This new structure, rather than fading, might ideally be internalized. It becomes the "inner monologue" that accompanies writing.
Finally, we come to two frames that Calkins uses throughout her book: social interaction and journaling. Even though they often end in "happy disasters," Calkins especially emphasizes the use of peer-to-peer conferences as a tool for growing in writerly proficiency. The purpose of these is, in large part, to make an audience real for the students. Realizing that there is someone for whom they can write, they take to their task with greater enthusiasm. Additionally, over time, they can learn to become better listeners and collaborators, who actually hear what other kids have written.
Transition:
This social consciousness also presages the major transition between first and second grade: Students lose the "veil of egocentricity." They become aware of writerly standards and of the demands of an intimidating and judgmental audience. Because of this, they begin to fixate less on ideas that please them and more on doing things the "right" way. They become concerned about procedural knowledge and work to secure the approval of their peers.
Because of this, the teacher's role acquires a second layer: Now she must not only provide structure but also help students to work with a degree of unconsciousness spontaneity.
Directions: First, choose an archivist to type for the group. Then, list all the different types of writing your group members engage in below. Then, in the next section, categorize the types -- decide upon categories they fit in and list the categories.
2/2/2016 Calkins Discussion
For this discussion, we have decided to separate our thoughts into three sections: Calkins' description of K-2 writers, her recommendations and scaffolds for K-2 writers, and her discussion of the transition to 2-3 writers.
Descriptions:
Students at this age tend to have an interest for writing and an enthusiasm for the world around them. They cheerfully fill up the spaces with which they are provided at the same time that they take careful note of the details of the world around them.
What they lack is a structure on which to hang their writing, the mechanics with which to write fluently, and the insight that their experience with the world is material for writing. Teachers should prompt students to develop these structures and to internalize these ideas.
Scaffolds:
At the earliest stages, students are more prone to draw than they are to write. Indeed, drawings often form an integral part of their narrative, without which their written words make no sense! Calkins argues that this is a helpful way for students to develop their ideas and understand the way writing functions initially. Over time, however, teachers should encourage students to leave drawing behind--at least as far as writing is concerned. Drawing takes up too much cognitive load and causes students to lose track of their writing. They have to learn the import of words.
At this stage, Calkins cites a new scaffold that can move in to replace drawing: vocal rehearsal. Students "talk themselves" through their writing. This new structure, rather than fading, might ideally be internalized. It becomes the "inner monologue" that accompanies writing.
Finally, we come to two frames that Calkins uses throughout her book: social interaction and journaling. Even though they often end in "happy disasters," Calkins especially emphasizes the use of peer-to-peer conferences as a tool for growing in writerly proficiency. The purpose of these is, in large part, to make an audience real for the students. Realizing that there is someone for whom they can write, they take to their task with greater enthusiasm. Additionally, over time, they can learn to become better listeners and collaborators, who actually hear what other kids have written.
Transition:
This social consciousness also presages the major transition between first and second grade: Students lose the "veil of egocentricity." They become aware of writerly standards and of the demands of an intimidating and judgmental audience. Because of this, they begin to fixate less on ideas that please them and more on doing things the "right" way. They become concerned about procedural knowledge and work to secure the approval of their peers.
Because of this, the teacher's role acquires a second layer: Now she must not only provide structure but also help students to work with a degree of unconsciousness spontaneity.
Directions: First, choose an archivist to type for the group. Then, list all the different types of writing your group members engage in below. Then, in the next section, categorize the types -- decide upon categories they fit in and list the categories.
TYPES OF WRITING WE ENGAGE IN:
Email
Blogging
Texts
Fiction
Grocery lists
Academic
Tweets
Donation lists
facebook
Forums
Roleplay
Notes
Letters
Journalism
Gaming text
Board Games
Posters
Documentation
Scheduling
Skype
Advertising
Lesson Plans
Flash cards
Presentations
Calender
THE CATEGORIES REPRESENTING THE TYPES OF WRITING WE ENGAGE IN:
Entertainment
Blogging
Fiction
Forums
Roleplay
facebook
Work
Academic
Advertising
Journalism
Donation lists
Grocery lists
Lesson Plans
Flash Cards
Presentations
Scheduling
Documentation
Daily
Skype
Text
Email
Tweets
Calender